Blast die wohlgegriffnen Flöten: Understanding and comparing J.S. Bach’s use of recorder and traverso

Dante Jongerius

As a recorder and traverso player, J.S. Bach’s works form a crucial part of my repertoire. They include some of the most technically advanced music written for the recorder, in which the instrument seems to be pushed to its limits. Meanwhile, the traverso is welcomed into the orchestra, and it has come to stay. In order to understand the many problems surrounding the recorder and traverso parts from Bach’s music, I need to know how Bach used each instrument specifically. And to be able to make the right artistic choices, I need to know why he chose the recorder for one composition, and the traverso for the other. In answering these questions, I have used my experience in playing both woodwinds to my advantage. My journey has led me through an analysis of terminology, tessitura, symbolism, clefs and pitch surrounding Bach’s flute parts. And for context, I have compared Bach’s use of the recorder and traverso with that of his contemporaries. With my research, I present an overview of the characteristic differences between the two instruments in Bach’s music, giving my own artistic view on some of the unsolved mysteries surrounding Bach and his use of flutes.

Acknowledgements

I would like to thank those who have helped and supported me during my research:

My research supervisor Wouter Verschuren for his patience, encouragement and generous availability;

My main subject teacher Kate Clark, who helped me to think more clearly about the direction of my research;

Heiko ter Schegget, who let me try his wonderful collection of self-made and original recorders;

The wonderful staff of the Central Library in The Hague, who helped me find the right sources;

The Stichting De Zaaier for their financial support.

Table of contents - Introduction

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Dante Jongerius - Blast die wohlgegriffnen Flöten: Understanding and comparing J.S. Bach’s use of recorder and traverso - 2025